22 'The Island of Lana'i seems to be sleeping in an earlier era - a truly hidden Hawaii." - The Chicago Tnbune ,. -- - -- --.- Across the channel from Maui, lies Lana'!, Hawaii's Pnvate Island Just two luxury hotels share this secluded paradise, both rated by Zagat's Hotel & Resort Survey among the finest in the nation The MedIterranean-inspIred Manele Bay Hotel overlooks one of Hawaii's finest beaches while The Lodge at Koele, in the style of a gentlemen's hunting estate, is nestled in the pine-covered uplands. They also share award- winnIng cuisine and a range of relaxing distractIons Tennis, horse trails, lawn bowling, croquet, and snorkeling in one of the ten best manne preserves in the world Golf at Greg Norman's "The Experience at Koele" surrounded by mIsty pines. Or at the spectacular ocean- view setting of Jack Nicklaus' "The Challenge at Manele." Room rates from $225 per night. For specIal packages or more information, call your travel agent or 1-800-223-7637 Or Lana'i directly at 1-800-321-4666 IA ðl HoTELS" Or REsoRTS I' Dl AR.T Dark Ladies G IVEN the subject, it is perhaps inevitable that the current exhibition at the Galerie St. Etienne-' 'Three Berlin Artists of the Weimar Era: Hannah Hbch, Kåthe Kollwitz, Jeanne Mammen"-should be vIewed from a sociopolitical perspective. After all, Weimar Germany was a frac- tured, doomed place; anguished political commentary was often the explicit agenda of these three artist5. That this show features only women suggests a quasi- feminist mission, too. Each artist seems to address herself to a particular female viewpoint. The best known of this trio is Käthe Kollwitz, whose lugubrious proletarian woodcuts depict the poverty and suffering of women and children. Her lithographs and draw- ings are more engaging In their expres- sionistic torment, but they sometimes touch absurd extremes of bathetic kitsch. In Jeanne Mammen's watercolors, by contrast, we enter a radically different social and spiritual world, one of pinched- face, painted, mannequinlike women. Her social chronicles reinforce the popu- lar conception of the Weimar years: imagine Liza Minnelli belting out' 'Life is a Cabaret" to a roomful of bored showgirls and sullen lesbians. Kollwitz and Mammen both rely on conventional modes: an art of social concern in one case, that of sardonic commentary in the other. Hannah Höch's collages, however, represent the cusp of the Dadaist avant-garde, and are as good as anything by Ernst or Schwitters. As in Mammen's work, the Weimar neue Frauen, or flappers, are on parade, but Höch cuts the figures up, decomposing them into wandering made-up eyes and lips. Her jittery, mechanized automata remain among the starkest emblems of the time. MUSEUMS AND LIBRARIES METROPOLITAN MUSEUM, Fifth Ave at 82nd St.- Gowns, daywear, and costume jewelry by Madame Grés, d French designer active from 1930 to 1988, will be on di play in the Costume Institute. Opens Sept. 13. . . . (jj "Pharaoh's Gifts: Stone Vessels from Ancient Egypt."... (jj "Four Silk Kashan Rugs." In the sixteenth century, the Per- sian city of Kashan produced magnificent silk carpets, most likely for the roya] pal- ace. Only twenty of them have survived, four of which belong to the Met. Three are based on traditional medallion designs; one depicts fierce tigers and fantastic animals attacking cattle and deer. Displayed to- gether for the first time, the four rugs pro- vide a rare glimpse into a vanished world of imperial splendor.... f]] "Dali: The Early Years." It is fashionable to dismiss the Spanish Surrealist Salvador Dali (1904-89) as a purveyor of schlock, yet his brilliant, visionary early works are as original and influential as any produced by Surrealism. The show includes a video installation of scenes from "Un Chien Andalou," Dali's historic collaboration with Buñuel. Through Sept. 18.... (jj The Annenberg collection of Impressionist and Post-Impressionist works includes pdintings by Picasso and Renoir. . . . (jj Mdsterpiece from the mu- seum's furniture collection, including d Mies van der Rohe tubular-steel armchair. Through Oct. 9.... (jj "American Impres- sionism and Realism: Drawings, Prints, and Photographs" features work from the museum's collection.... (jj "Divine Protec- tion: Batak Art of North Sumatra." Seventy primarily wooden works from the nineteenth and twentieth centuries, ranging from a three-inch-square ritual book to pup- pets. . . . (jj The roof garden, complete with sculptures, is open through the end of Octo- ber. (Open Tuesdays through Sundays, 9:30 to 5:15, and Friday and Saturday evenings until 8:45.) MUSEUM OF MODERN ART, 11 W. 53rd St.-An exhibit of movie stills, from films ranging from "Intolerance" (1916) to "Danton" (1983). Through Oct. 4. .. (jj "Sense and Sensibility: Women Artists and Minimalism in the Nineties" recasts the movement's formdl problems in terms of femininity and domesticity Through Sept. 11. . . . (jj "Mod- ern British Drawings: Selections from the CollectIOn." The portraib in this ummer exhibition-Gaudier-Brzeska's charcoal of Wyndham Lewis, a pair of self-portraits by Lewis and William Roberts, Frank Auer- bach's "Head of Catherine Lampert VI"- speak most forcefully. Gilbert and George offer a heavy-handed satire of the British sporting portrait featuring a lampoon of art-worshipping pomposity that reads "To Be with Art Is All We Ask." Through Sept. 13. . . . (jj ((Lee Friedlander: Letters from the People." Friedlander's messages are black- and-white photographs of letters of the al- phabet, numbers, commercial signs, and graffiti. Through Sept. 11. (Open Saturdays through Tuesdays, 11 to 6; Thursdays and Fridays, noon to 8:30.) GUGGENHEIM MUSEUM, Fifth Ave. at 89th St.- ((The Tradition of the New. Post-War Mas- terpieces from the Guggenheim Collection." An amble up the ramp begins with Abstract Expre sionism dnd ends with minimalism. Detours out of the rotundd include d room devoted to Donald Judd (1928-94) anù one to Joseph Beuys (1921-1986), both of whom are well represented in the permanent col- lection. Through Sept. 11. (Open Sundays through Wednesdays, 10 to 6, and Fridays and Saturdays, 10 to 8.) WHITNEY MUSEUM OF AMERICAN ART, Madison Ave. at 75th St.-A retrospective of more than two hundred paintings and works on paper by Joseph Stella (1877-1946), the American Futurist. Through Oct. 9. (A complemen- tary show opens Sept. 10 at the Kraushaar gallery.) . . . (jj ((From the Collection: Pho- tography, Sculpture, and Paintings." In- cludes work by Nan Goldin, Sally Mann, Agnes Martin, and I\d Reinhardt. . . . (jj ((Ed- ward Hopper and Jack Pierson: American Dreaming." Two devotees of forlorn, sad- sack Americana. For this installment of the Collection in Context series, the Whitney asked Pierson to curate a show of his own works and works by Hopper (1882-1967), drdwing on the Museum's extensive Hopper holdings. Through Sept. 11. (Open Wednes- days, and Fridays through Sundays, 11 to 6; Thursdays, 1 to 8.) AMERICAN MUSEUM OF NATURAL HISTORY, Central Park W. at 79th St -((Royal Tombs of Sipán " Gold, silver, and gilded copper ob- jects of the Moche, a pre-Inca civilization of northern Peru. The 1987 discovery of a series of undisturbed royal tombs dating to the fourth century A.D. established the Moche as one of the world's major ancient civilizations. Precious metals steal the show, though the ceramics on display are very fine, and Moche portrait heads speak as eloquently as Roman busts The curators are probably right to identify Sipán as the richest burial site ever excavated in the New World. (Open daily, 10 to 5:45, and Friday and Saturday evenings until 8:45.)